■r frH 




DOLLY'S DODBLE. 



A Vaudeville Sketch. 




^ 




DICK & FITZGERALD, Publishets, 
NEW YORK, 






PLAYS FOR FEMALE CHARACTERS ONLY 

J5 CENTS EACH 

p 

CRANFORD DAMES. 2 Scenes; 1^ hours 8 

GERTRUDE MASON, M.D. 1 Act; 30 minutes 7 

CHEERFUL. COMPANION. 1 Act; 25 minutes 2 

LESSON IN ELEGANCE. 1 Act; 30 minutes 4 

MAIDENS ALL FORLORN. 3 Acts; IM hours 6 

MURDER ^VILL OUT. 1 Act; 30 minutes 6 

ROMANCE OF PHYLLIS. 3 Acts; 1^ hours 4 

SOCIAL ASPIRATIONS. 1 Act; 45 minutes 5 

OUTAVITTED. 1 Act; 20 minutes 3 

^VHITE DOVE OF ONEIDA. 2 Acts; 45 minutes 4 

SWEET FAMILY. 1 Act; 1 hour 8 

BELLES OF BLACKVILLE. 1 Act; 2 hours 30 

PRINCESS KIKU. (35 cents) 13 

RAINBOW KJMONA. (85 cents.) 2 Acts; IJ^ hours 9 

MERRY OLD MAIDS. (S5 cents.) Motion Song 11 

PLAYS FOR MALE CHARACTERS ONLY 

J5 CENTS EACH 

H 

APRIL FOOLS. 1 Act; 30 minutes 3 

BYRD AND HURD. 1 Act; 40 minutes 6 

DARKEY WOOD DEALER. 1 Act; 20 minutes 3 

^V ANTED, A MAHATMA. 1 Act; 30 minutes 4 

HOLY TERROR. 1 Act; 30 minutes 4 

MANAGER'S TRIALS. lAct;lhour 9 

MEDICA. 1 Act; 35 minutes 7 

NIGGER NIGHT SCHOOL. 1 Act; 30 minutes 6 

SLIM JIM AND THE HOODOO. 1 Act; 30 minutes 5 

WANTED. A CONFIDENTIAL CLERK. 1 Act; 30 minutes 6 

SNOBSON'S STAG PARTY. 1 Act; 1 hour 12 

PICKLES AND TICKLES. 1 Act; 20 minutes 6 

HARVEST STORM. 1 Act; 40 minutes 10 

CASE OF HERR BAR ROOMSKI. Mock Trial; 2 hours.... 88 

DARKEY BREACH OF PROMISE CASE. Mock Trial. 22 

GREAT LIBEIj CASE. Mock Trial; 1 Scene; 2 hours 21 

RIDING THE GOAT. Burlesque Initiation; 1 Scene; IJ^ hours 24 

DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 



DOLLY S DOUBLE 



a ;fWU!Steal IDauliciJiHe J>hcttl) in <©ne ^tt 



Bv CHARLES STUART 



Copyright, 1910, by Dick & Fitzgerald 



# 



NEW YORK 

DICK & FITZGERALD 

PUBLISHERS 






DOLLY'S DOUBLE. 



CHARACTERS. 

Jack Blair An Artist, who is poor. 

Dolly Relyea .... Jack's cousin, who is not. 
Mademoiselle FOL DOL . French, fresh and incidental. 

Time of Playing.— Twenty minutes. 



COSTUMES. 

Jack Blair.— Age, about twenty-five. Prince Albert coat, 
high hat, light trousers, gloves, cane, etc. Wallet in pocket. After- 
wards, smoking jacket and Turkish fez. 

Dolly Relyea. Age, twenty. Picture hat, long carriajje 
wrap to cover entire dress. Incidentally, very fancy black dress, 
as Mlle. Fol Dol. 



STAGE DIRECTIONS. 

As seen by a performer on the stage, facing the audience, R, 
means the right hand ; L. the left hand ; C. the centre of the stage. 
D. L. door at left of stage. UP, toward rear ; down, toward the 
footlights. 



THP96-007iS9 






DOLLY'S DOUBLE. 



Scene. A studio. Door up L.. entrance from hall ; door in L. 
of flat, leading to another roo7n. Window in R. of flat with 
easel and chair in front of it. Hat-rack close to R. of door in 
flat. Screen masking door L, with chair in front of it. Chair 
down L. Table down R. ^uith chair R. a7td L. of it. Smoking 
jacket and fez hanging on hat-rack. Sketches, paintings, 
busts, draperies, etc., scattered arotmd. Bottle of beer, sand- 
wiches, hand-mirror, and several letters 07i table. At rise of 
curtain JACK is heard ofl^ stage L. singing a verse of some 
popular song ; as he covwiencesthe chorus, he ENTERS D. L. 
and finishes singing as he takes ofl^ coat, gloves, etc., and puts 
on jacket a7id fez. 

Jack. I hope to goodness no one drops in this afternoon. 
Tliere has not been a day I could work on that picture from the 
time I brought it home last November until this week, but if I am 
not disturbed now I may be in time for the Academy show after 

all I'll just snatch a bite of lunch and then to work {crosses to 

table and begins to eat — catches sight of letters a fid opens several.) 
Hum! oh! oh! Bills! bills! Nothing but bills. Why can't 
those fellows leave me alone .-* They all want money! What do 
they need of it ? I get along without any ! That is when I can't 
borrow any. {Opens another letter.) Well, by Jove, this fellow is 
deucedly clever. {Reads last letter.) 

I used to think If I could get 

A little cash in store, 

And be no longer in your debt 

I'd worry then no more, 

But now, that I am wholly out 

Of debt to you, you see, 

I worry twice as much about 

That \o?in yo7i got from jue. 

R. B. 

R. B. (as in deep thought). Ah ! yes I presume that stands for 
Robert Burns — well Bob, my boy, many a dollar I have borrowed 

3 



4 Dolly's Double. 

from you — yes, and many a one you have got from me too, but 
evidently the balance is in your favor this time. Well, old man, 
you shall have your money and at once. He 7nust be short, or he 
wouldn't take the trouble of writing sonnets to his debtors, and it 
is better — much better, to pay him than to be forced to read his 
poetry. {Crosses to coat on rack— pauses half way) But, for the 
life of me, I can't imagine how much I owe him — Oh ! I'll send 
him one bone and see how that strikes him {puts hancf in coat 
pocket, brings out wallet — exami7ies if, then groans). Holy cat ! 
I haven't a sou ! {Looks at letter.) Well, Bob ! my dear boy, you 
don't get your money. That is, not at present, I say present to 
ease my conscience, for the chances are he won't get it at all unless 
some one buys one of my pictures, which is just about as likely as 
some one buying some of Bob's sonnets — Ah ! Well, such is life in 
Bohemia. 

Air. "Vive la Compagnie." 

Oh, sing of. the saffron colored -^vi^^ 
That a man may smoke at his ease 
In a dingy den — where the dust lies ripe 
And the spiders do as they please. 
Let others shorten in dull home lives 
Their hair and their liberty 

And be constrained at the words of their wives- 
Bohemia's land for me. 

Oh, sing of the pretty girls we've kissed, 
And the merry days when we dined 
With only a laugh for the dinners missed 
And the girls to our loves unkind, 
With hearts as light as our pockets freight 
We scorn all satiety 
And laugh in the face of fickle fate — 
Bohemia's land for me. 

{Pauses — then strikes attitude). Ah, well, when those fellows 
see my picture taking first prize at the Academy and my fame 
spread before them in every paper in the land, they '11 be glad to 
say '* I loaned Jack money when he was painting that picture. 
That sounds nice, but dreaming won't paint the picture. {Crosses 
to easel, kicks stool in positio7t and begins to paint, hu7nining 

S07lg. 

(Dolly at door l. knocks softly, afterward repeats much 
louder). 

Jack {behind easel). Oh, bother, I'll pretend I am out. 

(Dolly raps with all her inight). 

Jack {rises, throws down brushes etc., and rushes to door). 
Well, come in ! {Pulls door open violently). And be hanged to 
you, whoever you are. 



Dolly's Double. 5 

Dolly, {standing m door, very demure). Good afternoon 
Jack! 

Jack, {very much surprised). Dolly ! 

Dolly. Yes, Jack, it is I may I come in } {Crosses door- 
step). You are sure I am not disturbing you .'' 

Jack {makes face). Oh no — no — not at all — in fact I was 
rather expecting you. {Aside). God forgive me for lying. 

Dolly. What did you say. Jack ? 

Jack. I said I was just lying down. {Hands her to chair). 
Now just sit there like a good girl. You won't mind my going on 
with my work, will you } I want to get the picture finished in 
time for the Academy show and the time is short now. 

Dolly {earnestly). Oh, no Jack, I don't mind, keep right on. 

Jack. That's all right then. {Sits at easel again) make your- 
self comfortable — You see the light is good now and in a short 
time it will be too dark to paint. 

Dolly {after long pause). Jack! 

Jack. Yes. Why ! I had nearly forgotten you, Dolly ! By the 
by, what's come over the Dowager? She doesn't usually let you 
out alone. 

Dolly. Grandma is sick to-day. I've been out shopping, 
Ford is waiting below in the carriage for me. I came up alone 
because — because I wanted to speak to you. Jack. 

Jack. That's right, little Maid — Tell me all the news and all 
your troubles {Aside) The Lord knows I have enough of my own 
{To Dolly) I can listen though I am busy. Has the old lady 
been any pleasanter lately ? 

Dolly. Oh, Jack, her temper is simply unbearable. 

Jack. She's a regular shrew. I am glad she is not ?;// guardian. 

Dolly. I do try so hard to be patient, but her tongue is so 
bitter and so cruel. 

Jack {absently). Poor little girl. 

Dolly {angry). Sometimes I feel like running away from her. 
{looking sideways at Jack) No one would miss me. 

Jack {studying picture). Ah! that's right. 

Dolly. What } 

Jack, {contmues). That shadow to the right is too heavy Oh, 
( looks around at Dolly) Oh, er — what were you saying, 
Dolly } 

Dolly. Do you remember Bob Burtis of Chicago ? 

Jack. Yes — that alteration will make all the difference. Oh, I 
really beg your pardon, Dolly — you were saying ? 

Dolly. Do you remember Robert Burtis ? 

Jack {still very much interested in picture). Yes, I remember 
him, slim, short, tall, fat, light headed fellow with dark hair and 
eyes, runs a little when he walks. 



6 DoUy^s Double. 

Dolly. Yes, he is tail and slim and I want to tell you, Jack — 

Jack {leaves easel, crosses to table ami retiirtis to easel, gazes 
at picture much absorbed). Not so bad. 

Dolly {angrily). Oh dear, I can't get him to listen. 

Jack. See, Dolly, Just look a moment. Don't you think the 
picture would look more composed with the shadow lightened ? 

Dolly. Jack, I must go soon, can't you spare me a moment 
to-day. 

Jack. Excuse me, dear. I am beastly rude, I know, treating 
you this way. It's the fault of this glorious sun. There hasn't 
been a day like it all winter, I am a boor, I know, but the fatal day 
draweth nigh. 

Dolly. Well, I was trying to tell you that Rob Burtis returns 
to Chicago to-morrow and — and — and 

Jack. Lucky dog. Seeing the world while we vegetate at 
home. 

Dolly. And, Jack, he says he hates going back — alone. 

Jack. Oh ! I say, Dolly, what a thoughtless fellow I am. 
Won't you have some lunch, I'll send for it. 

Dolly. No ! no ! Jack. I really don't care for anything 

And, Jack, he feels awful at leaving everybody and Grandma gets 
worse and worse and I 

Jack {painting vigorously). She is an unmitigated old 
wretch. Good thing she was a bit queer to-day so you could get 
off the chain and have a little flutter by yourself. 

Dolly. Oh, I don't think she would mind my coming here, 
she rather likes you. Jack ; but to return to what we were 
saying 

Jack. Just reach me that hand mirror, will you ? 

Dolly {not tioticing interruptioti). So he said he would come 
this evening for his answer, {during the above. Jack crosses to 
table, gets mirror, returns to easels resumes seat and continues 
painting.) 

Dolly. Oh ! the nasty mean thing. I don't believe he knows 
I am here or cares either for that matter. {Glances over her 
shoulder at Jack). I'll just hide behind this screen and see if he 
will miss me. {Retires behittd screen). 

Jack, {goes on pai?tti?tg and humming a tunc, then after a 

pause) Hello! DOLLY gone? Oh! I say, Dolly well 

by jove she has gone and I' 11 bet she is as mad as a Boiled Owl. 
( Laughs). Well I can't say I am sorry to get rid of her and her 
senseless prattle. 

Dolly, {behind screen). Oh ! the horrid thing! 

Jack. I can't blame her for getting mad, I certainly didn't 
make it interesting for her. 

Dolly {behind screen). I'll make it interesting for him ! 



Dolly's Double. 7 

Jack. But then Dolly ought to know better than to visit nne 
alone in my studio, even if I am her cousin, still one can't expect 
a kid like her to think of those things. I am glad she woke up 
and sneaked when she saw I was busy. ( Ptits away brushes etc., 
and sits gazing at his picture). By Jove, I am glad I took that 
hint of Charley' s, the rest will be easy now, funny how those duf- 
fers always give one the best ideas Nice of Dolly not to stay. 

She didn't seem very happy to-day If she was only a little less 

flighty and I was a good deal richer I would run off with her and 
take her out of that old witch's clutches. 

Dolly {behind screen). I'd have something to say about that. 

Jack. But she is too young yet and I haven't the long green. 

She was talking about Burtis, he is a capital fellow she said he 

did not want to go alone By jove ! {Sits up.) I wonder if he 

has been making love to her 

Dolly {behind screen). He just has — 

Jack. Why she is only a child yet and I always thought of her 
as mine some day. ( Whistles.) She said he was coming for his 
answer to night. {Jumps tip.) Heavens ! what a fool I have been. 
Rushes to hat rack and grabs hat etc., and starts to rush out but 
suddenly discovers Dolly behind screen, then comes slowly dozufi, 
replaces hat etc.) No, on second thoughts I won't run after her, 
my time is far too valuable for that and my picture is more to me 
than Dolly can ever be. {Aside.) That ought to bring her out on a 
jump. 

Dolly {behind screen). Oh, it is, is it ! 

Jack {aside). It doesn't seem to work Ah ! I have it. 

{Aloud.) Now if I could only get that dancer that I met at the 
French Ball to pose for my picture I would startle the world. 

Dolly {behind screen). Oh the brazen thing. I'll startle 
him. [EXIT door L.] 

Jack. Well, by Jove even that doesn't bring her out 1 

know what will I'll sing to her. {Introduce Song.) 

Dolly {after having made change, enters door in flat as 
Mile Fol Dol, advances toward front at end of chorus of ]ack'S 
song). Wee Monsieur. 

Jack {very much astonished). Eh! What! Oh! I beg your 
pardon, are you speaking to me ? 

M'lle. Wee, Monsieur. 

Jack. Oh, I guess it is, I don't know what you say, but I 
know what you mean. {Aside.) I wonder where she came from.? 
{To M'lle.) You will pardon me, but I have forgotten your name, 
would you mind introducing yourself. 

M'LLE. Ze Monsieur must have ze one bad memory to forget 
ze grand French Ball and ze M'lle Fol Dol. 

Jack. What's that ! The French Ball ! Why! I wasn't at 
\the French Ball and I never met you before in my life. 



8 DoUy^s Double. 

M'lle. Ah ! la, la, la, ze Monsieur he try ze one jolly on ze 
M'lle Fol Del, zat he forget zat she kick off his chapeau (kicks at 
hint) so ! 

Jack. I am sorry I can't remember what never happened. 
You have made a mistake. 

M"lle. Ah ! non, non, I make ze no mistake, I make ze Can- 
Can and zen ze Monsieur will remember. {She mtroduces here a 
song.) 

Jack. Well, if she does the Can-Can in here, I can see my 
finish with Dolly. {To M'lle.) You can't dance in here you know, 
the fact of the matter is there is a sick man downstairs, and you 
will disturb him. 

M'lle. Ah ! la, la, la, I no care for the sick man, I sing and 
dance anyway. 

Jack {aside). Well she is fresh to say the least, I suppose I'll 
have to stand for it. {Sifs at table.) 

M'lle {at close of so?tg, runs a7id jumps sitting on table throw- 
ing her arms about Jack' s neck). Now, does ze Monsieur re- 
member ? 

Jack {gets up hurriedly). No ! I haven't the least idea what 
you are driving at. 

M'lle. I am not driving. Ze Monsieur must have what ze 
Americans call ze bat in ze belfry. 

Jack {very angry). Confound it, woman. I guess it is you 
who has bats in your belfry or too much French ball. 

M'lle. Ah ! non, non ! Too much French ball nevaire. 

Jack. Well say, what do you want here anyway ? 

M'lle. I want to pose for Monsieur ! 

Jack. To pose for me — in what ? 

M'lle. In ze altogether, for ze Monsieur's picture. 

Jack. But I don't want anyone to pose for me. Where did 
you get that idea } 

M'lle. A friend of ze Monsieur tell me zat ze Monsieur ad- 
vertise for a modelle. 

Jack {aside). This must be another of that confounded Tom's 
jokes {To M'lle.) Well, you know, it's only a joke, some one has 
been fooling you. I don't want a model — haven't any use for one. 

M'lle. Eez dat so. Et is no joke for me. You make a fool 
for me. My time eez money and I am going to pose anyway, and 
you will have to, what the English call — ])ay {crosses over toward 
screen) — pay {reaches screen and retires behind it) — pay. 

Jack {aside). Well, she is fresh — I wonder where Dolly went. 
{To W 1.1.^ behind screen.) Now really this thing has gone far 
enough — I simply won't have a model. (M'lle behind screen throws 
out a stocking.) Good Heavens! she is undressing — If Dolly 

comes in now there will be the devil to pay — pay — pay Oh, I 

say, I can't afford a model, I haven't any money. 



Dolly's Double. 9 

M'lle {behind screen). Well zen, I vill stay here until you get 
some. {Continues throwing things over the screen.) 

Jack {gatherifig the things up as she throws them over). By 
Jove, you know, my wife will be in here soon and you will get me 
in an awful scrape. You belter put these things on again {ap- 
proaches screen with hands full). You really must, you know. 

Dolly {after making change, glides around tipper end of 
screen and comes down behi?td JACK). Jack ! 

Jack {making fraiitic efforts to conceal things about his per- 
son). Oh ! er — is — er — you is it, Dolly } 

Dolly. Yes, of course it is me ; who did you think it was ? 
you look as if you expected to see His Satanic Majesty. 

Jack {aside). I can see my finish now. ( To Dolly.) Oh— er— I — 
er — knew you were behind the screen all the time, that's why I 
said all those things, just to make you angry. 

Dolly. Oh you did ! Well, which do you like the best, your 
demure cousin or zee {shrugs shoulders in French fashion) gay 
M'lle Fol Dol } 

Jack {aside). She ison all right. {To Dolly.) Did you see her ? 

Dolly. Of course. {Begins to sifig wild Fol Dol song.) 

Jack. Where did you learn that song > 

Dolly. From M'lle Fol Dol. 

Jack. Do you know her ? 

Dolly. Why! certainly, she is an intimate friend of mine, and 
I want to see her, but I won't keep her a moment from you. 

Jack. But I don't care for that woman, Dolly, I only care for 
you, I love you, Dolly. Will you be my wife ? 

Dolly. Yes, if you will promise to marry M'lle Fol Dol also. 

Jack. Good gracious, girl, are you crazy ? 

Dolly. No, but if you won't marry her then you can't marry 
me, for we are one and the same. 

Jack. You — you M'lle Fol Dol. 

Dolly. Wee, Monsieur, I am ze modelle. 

Jack. Well say— what is this— have I got the D. T. again } 

Dolly. No, Jack, it's a case of Dolly's Double. 



(CURTAIN.) 



Monologues 

MAN PROPOSES, BUT WOMAN DISPOSES, is Wntl 

A sprightly and emotional Monologue by Lawrence D. Fogg, in which a young lady, 
•n her birthday, endeavors by the guidance of letters and gifts from her numerous 
admirers, to decide on one of them for a husband. Her criticisms are witty and 
amusing, but she fails to make any selection. Why ? — Because, 

CONFESSIONS OF A MALE FLIRT. 15 cents, a monologue, 

by Lawrence D. Fogg, in which a bachelor, on the eve of his wedding, while burn* 



ing his love correspondence, recalls to mind some of the girls with whom he has been 
in love, with his hopes, his successes, and h' " 

nings, ending with a pa 
the performer's head is buried in his hands, a procession may pass slowly by, repre* 



in love, with his hopes, his successes, and his disappointments. A strange medley of 

vnile 



humor and heart-burnings, ending with a pathetic climax. Note — At the end, 
the performer's head is buried in his hands, a procession may pass slowly by, 
Renting the girls he has been describing; similar in effect to the scenes in th» 
"Reveries of a Bachelor." 

SHOW AT WILKIN'S HALL, 1 he. 15 cents, a comedy costume 
monologue for a lady, or gentleman in female costume, by Bertha M. Wilson. A 
*' Take-Off " on Delsarteans in 2 scenes ; the second can be given without the first, 
being complete in itself. A sure hit. 

WAKE AT O'GRADY'S, The. 15 cents. By William Sidnev 
Hillyer. a monologue for an Irish character comedian. Runs 15 minutes. Besides 
the " wake,** Mr, Dtigan telb all about the christening at McGuire's. Especially 
recommended. 

CRUSHED TRAGEDIAN, A. ig. cents. By William Sidney 
Hillyer. A character monologue for male comedian. Depicts the rsminiscenccs 
and tribulations of "the palmy days'* by one of " the old schooL" Runs about 15 
minutes. Especially recommended. 



Vaudeville Sketches 

BERNSTEIN AND FIRESTEIN. is cents, a vaudeville sketch 
In Hebrew dialect for 2 male charact^.s, by James F. Parsons. Time, about 15 
minutes. Exceedingly funny both in I'ldicrous topics, Sheeney hits and droll repartee j 
concluding with the song *' Oh, My I Von't We Make der Money !" for /vhich th« 
text and music are given. 

TWO WANDERING JEWS, is cents. A vaudeville sketch in 
Hebrew dialect, for 2 male characters, by Harry E. Shelland. Time, about 15 min- 
utes. Full of funny and catchy dialogue ..nd .epartee, and ending with a song. 

NEW CHAUFFEUR, The. is cents, a vaudeville automobile skit, 
for 2 male characters, by Harry E. Shelland. Time, about 15 minutes. A Dutch 
brewer hires an ignorant Irishman for chauffeur. A terrible catastrophe and a racy 
dialogue in which Pat gets the better of the Dutchman. Just too funny and leading 
up to dialect minstrelsy. 

MULDOON AND THE NIGGER % or. White and Black, is 

cents. A dialect vaudeville Sketch for two males, by H. E. Shelland. Muldoon, 
an Irish stage-manager, meets very suddenly Johnson, a darkey, whom he wished to 
engage as an actor in a Mephistopheles drama. After a lot of funny characteristic 
talk, they rehearse Johnson s part. After soma ridiculous attempts at highfalutia 
tragedy, partly in very blank verse, Johnson collapses. They close with a song. 

MA'S NEW BOARDERS, is cents, a farcical sketch !n i act. by 
W. C. Parker. 4 male, 4 female characters. Mrs. Holdti^ht leaves her boarding- 
house in her daughter's charge. Prof. Alto-Gether calls a rehearsal of the villag* 
choir, but gives them the wrong address. The choir turn up at Mrs. H.^s and ar« 
mistaken for new boarders. Then follows an uproarious series of incidents that end is 
the Pra/essors round-up. Can be played "straight," or with specialties. Excellent 
shaace for single or double quartette. No sceaery required. Time, y^ minut«s. 



Vaudeville Sketches 

BERNSTEIN AND FIRESTEIN. is cents, a vaud.yiii* sketch 

in Hebrew dialect for 2 male characters, by James F. Parsons. T:me, abo^t 15 
minutes. Exceedingly funny both in ludicrous topics, Sheeney hits and droll repartee ; 
concluding with the song "Oh, My ! Von't We Make der Monfe/ ! " for which th*. 
text and music are given. 

TWO WANDERING JEWS, is cents, a vaudeville sketch in 
Hebrew dialect, for 2 male characters, by Harry E. Shelland. Time, about 15 min- 
utes. Full of funny and catchy dialogue and repartee, and ending with a song. 

NEW CHAUFFEUR, The. is cents, a vaudeville automobile skit, 
for 2 male characters, by Harry E. Shelland. Time, about 15 minutes. A Dutch 
brewer hires an ignorant Irishman for chauffeur. A terrible catastrophe and a rac/ 
dialogue in which Pat gets the better of the Dutchman. Just too funny and leading 
up to dialect minstrelsy. 

MULDOON AND THE NIGGER ; or. White and Black, is 

cents. A dialect vaudeville Sketch for two males, by H. E. Shelland. Muldoon^ 
an Irish stage-manager, meets very %\xAAfiv\y Johnson, a darkey, whom he wished to 
engage as an actor in a Mephistopheles drama. After a lot of funny characteristic 
talk, they rehearse Johnson .r part. After some ridiculous attempts at highfalutin' 
tragedy, partly in very blank vers^, Johnson collapses. They close with a song. 

MA'S NEW BOARDERS, is cents, a farcical sketch in I act. by 
W. C. Parker. 4 male, 4 female characters. Mrs. Holdtight leaves her boarding-, 
house in her daughter's charge. Prof. Alto-Gether calls a rehearsal of the village 
choir, but gives them the wrong address. The choir turn up at Mrs. H.^s and are 
mistaken for new boarders. Then follows an uproarious series of incidents that end in 
X\i^ Professor s xo\xnd.-w^. Can be played " straight," or with specialties. Excellent 
chance for single or double quartette. No scenery required. Time, 30 minutes. 

PAPA'S BULLDOG, is cents, a farcical sketch in i act, by W. C. 
Parker, i male, i female chj'racter. The hero tries to "coach" his sweetheart ia 
some private theatricals. Her ignorance exasperates him so completely that a furious 
..aarrel ensues. Unexpected consequences convince each that the other is crazy, and 
the fun is brought to a cyclonic climax by the intervention of Papa's bulldog. The 

Siece can be played " straight," or specialties may be introduced. Time, 30 minutes, 
fo scenery required. 

AFTER THE BALL, is cents, a vaudeville character sketch in 1 
act, by Harry E. Shelland. i male, i female character. Scene, a plain interior. 
Time, 20 minutes or longer, according to specialties introduced. A bright dialogue 
between a youth and girl of the old Bowery pattern, with disjointed remarks and rep- 
artee while dancing the two-step, and affording opportunity for song and dance or 
other specialties. 

POINT OF VIEW, The. is cents. A sprightly comedy sketch, by 
Bell Elliott Palmer, i male and i female character ; time of representation, 20 
minutes, in which Elinor Jardine tries to convince Fred Winston, to whom she is 
shortly to be married, that her conduct in regard to a formerrejected suitor, although 
unconventional, is entirely justifiable. Fred confesses to a similar but pretended pro- 
ceeding with another young lady. Elinor'' s jealousy is so aroused that she calls down 
the engagement. He then proves that his flirtation is assumed merely to convince her 
that her point o/yieiu is absurdly untenable, a fact which she is gladly compelled to 
admit. Reconciliation follows, of course. An illustration of the feminine "because' 
outwitted by masculine strategy. 

PROFESSOR'S TRUANT GLOVES, The. is cents, a comedy 

sketch, by Bell Elliott Palmer, i male and i female character. Time of repre- 
sentation, 20 minutes. A charmingly elaborated duologue, showing how a young lady 
of extremely womanly discernment smooths the way to a declaration of love from_ a 
man unacctistomed to women's ways, and so terribly bashful and diffident, that he mis- 
interprets all she says and does. A fetching example of womanly tact and diplomacy. 



Mock Trials, Initiations and Monologues 

MAN PROPOSES, BUT WOMAN DISPOSES, is cents. 

A sprightly and emotional Monologue by Lawrence D. Fogg, in which a young lady, 
on her birthday, endeavors by the guidance of letters and gifts from her numerous 
admirers, to decide on one of them for a husband. Her criticisms are witty and 
amusing, but she fails to make any selection. Why ? — Because, 

CONFESSIONS OF A MALE FLIRT, is cents, a monologue, 

by Lawrence D. Fogg, in which a bachelor, on the eve of his wedding, while burn- 
ing his love correspondence, recalls to mind some of the girls with whom he has been 
in love, with his hopes, his successes, and his disappointments. A strange medley of 
humor and heart-burnings, ending with a pathetic climax. Note — At the end, while 
the performer's head is buried in his hands, a procession may pass slowly by, repre- 
senting the girls he has been describing; similar in effect to the scenes in the 
** Reveries of a Bachelor." 

SHOW AT WILKIN'S HALL, The. is cents, a comedy costume 
monologue for a lady, or gentleman in female costume, by Bertha M. Wilson. A 
" Take-Off " on Delsarteans in 2 scenes • the second can be given without the first, 
being complete in itself. A sure hit. 

WAKE AT O'GRADY'S, The. 15 cents. By William Sidney 
HiLLYER. A monologue for an Irish character comedian. Runs 15 minutes. Besides 
the " wake," Mr. Du^an tells all about the christening at McGuire's. Especially 
recommended. 

CRUSHED TRAGEDIAN, A. is. cents. By William Sidney 

HiLLYER. A character monologue for male comedian. Depicts the reminiscences 
and tribulations of "the palmy days" by one of " the old school." Runs about 15 
minutes. Especially recommended. 

MATRIMONY— BEFORE AND AFTER. 2S cents, a humor- 

ous monologue, describing in a series of funny stories and sly deductions from facts 
more or less authentic, the hopes and delusions of the maudlin stages of love and 
courtship, and the awakening realities as viewed from the final standpoint of matri- 
mony. It keeps an audience in broad grins and explosive laughter for about 20 minutes. 

GREAT LIBEL CASE, The. 15 cents, a new mock trial, by Harry 
E. Shelland. 21 males. 8 leading characters and 13 jurymen (i excused). A roaring 
travesty of proceedings in court in the backwoods of Kentucky. The war experiences 
of the defendant, a bogus colonel, and the personalities of a jury of mixed nationalities 
and occupations, make this trial a screaming farce. It plays a whole evening. 

CASE OF HERR BAR ROOMSKI CONEYISKEY, The. 

(An Anarchist.) 15 cents. A new Mock Trial, by Harry E. Shelland. 27 male, 
I female (usually played by a male) characters. The latest and most amusing 
mock trial published. Good Tramp, French, German, Irish, Negro and Jew parts. 
Plays a whole evening. 

RUGGLES vs. THE PADERWHISKIE SCHOOL, is cents. 

A m.)ck trial, by Charles J. Martin. Arranged for 18 male and 14 female characters 
or more as circumstances require ; the female characters are usually performed by 
males. This mock trial will keep the audience laughing every moment ; the action is 
rapid and replete with irresistible drolleries. Ru^^^ts brings suit against the Pader- 
whiskie School for damages caused by the insufferable noise, vocal and instrumental, 
by which his rest is destroyed. Examples are performed to enable the jury_ to 
appreciate their excellence, giving opportunities for the introduction . of specialties. 
Can be played a whole evening. 

RIDING THE GOAT. 15 cents, a burlesque initiation in a lodge of 
the "Sovereign Union of the Emancipated Husbands," by O. E. Young. 12 male 
characters, also the wives of all of them (performed by males), and 2 attendant imps; 
associate members and their wives, ad libitum. Time, i% hours. The cast includes 
a Dutchman, an Irishman, a Yankee and a Darkey. The proceedings are intensely 
funny with a roaring climax. Just the thing for a club where a large east is desired. 



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MILITARY PLAYS 

25 CENTS EACH 

M. 

BY THU; ENEMY'S HAND. 4 Acts; 2 hours lo 

EDWARDS, THE SPY. 5 Acts; 21^ hours 10 

PRISONER OF ANDERSON VILIiE. 4 Acts; 214 hours.. 10 

CAPTAIN DICK. 3 Acts; li^ hours 

ISABEL, THE PEARL, OF CUBA. 4 Acts; 2 hours 9 

LITTLE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 

BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2}4 hours 9 
BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 




RURAL PLAYS 

25 CENTS EACH 

MAN FROM MAINE. 5 Acts; 214 hours 9 3 

AMONG THE BERKSHIRES. 3 Acts; 214 hours 8 4 

OAK FARM. 3 Acts; 21^ hours; 1 Stage Setting 7 4 

GREAT AVINTERSON MINE. 3 Acts; 2 hours 6 4 

SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2)4 hours 5 2 

^VHEN A MAN'S SINGLE. 3 Acts; 2 hours 4 4 

FROM PUNKIN RIDGE. (15 cents.) 1 Act; Ihour... 6 3 

LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 1 




ENTERTAINMENTS 

25 CENTS EACH 

AUNT DINAH'S QUILTLN^G PARTY. 1 Scene 6 11 

BACHELOR MAIDS' REUNION. 1 Scene 8 30 

IN THE FERRY HOUSE. 1 Scene; IJ^ hours 19 15 

JAPANESE AVEDDING. 1 Scene; 1 hour 3 10 

MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 

OLD PLANTATION NIGHT. 1 Scene; 134 hours 4 4 

YE VILLAGE SKEAVL OF LONG AGO. 1 Scene. 13 12 

FAMILIAR FACES OF A FUNNY FAMILY 8 11 

JOLLY BACHELORS. Motion Song or Recitation 11 

CHRISTMAS MEDLEY. 30 minutes 15 14 

EASTER TIDINGS. 20 minutes 8 

BUNCH OF ROSES. (15 cents.) 1 Act; li^ hours 1 13 

OVER THE GARDEN ^VALL. (15 cents) 11 8 



DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y 




JUL 34) I9^G 




LIBRARY OF CONGRESS 

COMEDIES A^ 

25 CENTS 




016 103 748 5 



BREAKING HIS BONDS. 4 Ac 
BUTTERNUT'S BRIDE. 3 Acts 

COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9 

COUNT OF NO ACCOUNT. 3 Acts; 2)^ hours... 9 

DEACON. 5 Acts; 2}4 hours 8 

DELEGATES FROM DEJs^ER. 2 Acts; 45 minutes 3 

DOCTOR BY COURTESY. 3Acts;2hours 6 

EASTSIDERS, The. 3 Acts; 2 hours; 1 Stage Setting 8 

ESCAPED FROM THE LAT7. 5 Acts; 2 hours 7 

GIRL FROM PORTO RICO. 3 Acts; 2}^ hours 5 

GYPSY QUEEN. '4 Acts; 2}4 hours 5 

IN THE ABSENCE OF SUSAN. 3 Acts; 1}^ hours 4 

JAILBIRD. 5 Acts; 21^ hours 6 

JOSIAH'S COURTSHIP. 4Acts;2hour8 7 

MY LADY DARRELL. 4 Acts; 23^ hours 9 

MY UNCLE FROM INDIA. 4 Acts; 2}4 hours 13 

NEXT DOOR. 3 Acts; 2 hours. 5 

PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 

REGULAR FLIRT. 3Act6;2hours 4 

ROGUE'S LUCK. 3 Acts; 2 hours 5 

SQUIRE'S STRATAGEM. 5 Acts; 2}^ hours 6 

STEEL KING. 4 Acts; 2)4 hours 5 

WHAT'S NEXT ? 3 Acts; 2}4 hours 7 

AVHITE LIE. 4Act8; 2^^ hours 4 



WESTERN PLAYS 

25 CENTS EACH 

ROCKY FORD. 4Acts;2hours 8 3 

GOLDEN GULCH. 3 Acts; 234 hours 11 3 

RED ROSETTE. 3Acts; 2 hours 6 3 

MISS MOSHER OF COLORADO. 4 Acts; 2i^ hours. .. 5 3 
STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 
CRAWFORD'S CLAIM. (15 cents.) 3 Acts; 214 hours. 9 

DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y 



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